The Soul of Fine Art: Delve into: art, passion, writing, dharma, character, consciousness, culture, intuition, evolution, and the spirit we call soul.
eden's weblog
Tuesday May 06, 2003
Rosebud in Babylon
F For Fake (1973) was written and directed by Orson Welles who shows us that you can make a brilliant film for about a “dollar.”
The cast alone is enticing: Orson Welles (Himself), Oja Kodar (The Girl), Joseph Cotten (Himself), François Reichenbach (Himself), Richard Wilson (Guest), Paul Stewart (Himself), Gary Graver (Himself), Peter Bogdanovich (Himself), William Alland (Himself), Laurence Harvey (Cameo), Clifford Irving (Himself), Nina Van Pallandt (Herself), and Elmyr de Hory (Himself).
“Can a forgery be a work of art?” and “Are forgers artists in their own right?”
Monday May 05, 2003
Streaming Words
Listen.
Listen to someone talking. There is more going on that meets the ear. When you hear the words being spoken, it seems there are pauses between the words. These “pauses” or gaps allow us to identify each audible word in the same way that we read text: there are spaces between words in a sentence.
Despite what we think we hear, there are no specific pauses between words in everyday speech. The words we hear are an interconnected stream of words and phrases being hosed into our ears. So, how do we make sense of one another’s speech? The marvelous processing power of the brain interprets this stream into a coherent form that we can understand, and it seems to us that there are pauses between words.
Prove this phenomenon to your self. If you listen to computer-generated speech, you can hear the mechanical pauses as the machine attempts to segregate one word from another. And that’s why computer-speech sounds artificial.
Friday May 02, 2003
Going Once
In the April 30, 2003 edition of The New York Times, an article, Art Auctions Buffeted by Events, brings up distress sales and thinner catalogs from Sotheby’s, Christie’s, and de Pury & Luxembourg, in what may be an uncertain season—war and a “shaky” economy can also effect superrich collectors and sellers.
Renoir’s “In the Roses” is estimated to go for between $20 to $30 million; Pollack’s well-known drip “No.17, 1949” is expected to go for up to $7 million, plus “Dancer” by Degas may go as high as $12 million. Then, there is a self-portrait by Cezanne (done in 1895 when the artist was 55) that may fetch between $15 to $20 million, which may be a bargain since it had been on the market privately for $50 million.
For the artist, the article, while perhaps factual, is strewn with irony.
Tuesday Apr 29, 2003
Hard Wired
If there is any doubt that culture strives to contain our perceptions, thoughts, and vocabulary, try this exercise.
Choose two words that you use often and go one day without uttering either. You will be amazed at your mind’s desire to continue its pattern, and you will have to catch your tongue often.
The two words I strive to avoid are: hope and wish. While these words are not obnoxious, they add little to one’s declaration.
The point of this experiment is to speak from an original place and to know the true meaning and power of words.
For more about hope, read Trust | Hope | Fulfillment inside the main site gallery.
Monday Apr 28, 2003
Jack Hammer and I
I had sat down with my cappuccino, took out my drawing pencils and went to work. I was in the Starbucks across from the Beverly Center on La Cienega in Los Angeles.
It was sunny with clear blue skies—a vibrantly beautiful afternoon.
As I began my artwork, I heard someone say: “Excuse me.”
I looked up. A friendly black man looked back.
